Edwards trombones have a reputation for excellence and quality. Though a relatively new brand, they have garnered support from the trombone community which has both depth and breadth. davidbrubeck.com is delighted to host Christan Griego of Edwards in the latest installment of “The Craftsman’s Bench” tm.

1. In your estimation, how did Benge trombones rise and fall-was there anything in that experience that caught your attention?
I have not studied the Benge rise and fall. It’s my opinion that companies downfalls are financial with overspending, or they are just not that good and so sales will not support the manufacturing costs.

2. When you set out to build the best trombones available, what were the top three characteristics you hoped to achieve:

3. What important perspectives have your artists shared that have influenced the designs?
It’s not just the “artists” that influence design. Every person that comes through our doors gives us knowledge on what is good and what needs improvement on. It’s only if we are interested in making changes and continually improving that will allow us growth. A lot of companies hear what they need to do to improve, but never act upon the knowledge.

4. Which bore Edwards size reached or exceeded your expectation the most quickly? .500, .547, or .562?
I really don’t know, they are all great when correctly fit to the individual. When I came to Edwards in 1998 I expected Edwards to be incredible professional instruments and they meet my expectations. It’s making sure they are always to this level that is work. Every day we have to meet this very high expectation.

5. What advantages have you found in your geographic location? Disadvantages?
We are close to the metal industry and within days I can have any equipment, material, or anything to my hearts desire. The negative is it’s cold in the winter time and the days are short. Not sure I’ll ever get used to this weather in the winter.

6. A positivistic, team effort is exuded at Edwards. How it take shape, and what do you do to foster it?
I don’t “foster” it, we just enjoy what we do and enjoy our customers. Even when there is a problem with a customers instrument it becomes a very personal issue for us. We do our best to treat everyone like we want to be treated.

7. Why did you decide to use a new name, rather than designate a new Getzen series?
Edwards started as a division of Allied Instruments. Getzen was out of the family and was bought back after Edwards was already established.

8. Which characteristics did you admire of the historic brands?
Jazz:
King…….Rich centered sound.
Williams…….Response
Olds…….Thick sound-(not sure I admire this though. I am a bit scarred by their student case that hit me in the knee every step to school.)

Classical
Bach…….round sound
Conn…….near feel presence for the player
Holton…….nice big sound with 9″ bells on tenor. Good sounding basses as well. (I played a TR158 for 14 years through school.)

9. Which lubricants do you recommend, and why?
Our own (Edwards). They work and do not “build up”.

10. What qualities have others said Edwards trombones possess?
Consistent sound, consistent articulations throughout registers, great sound, too many to list.

11. What do you consider your major breakthroughs or innovations?
Not sure there have been yet… The harmonic bridge used on the Alessi was a breakthrough in sonic variation, I always have developments in the pipeline and I’d love for every one of them to be a major breakthrough but at the end of the day it’s as I’ve always said “the market will decide”.
Many companies develop valves, trombone copies, different, etc. and at the end of the day it’s not a “monumental” breakthrough. I don’t want to sell “different” I want to sell “great” equipment that helps people make the music they want to make, in the way they want to make it.